From Russia with Love was the 2nd and is still the best Bond film to date, building on the themes and style set up by the first film, Dr. No, but distancing itself considerably from that film's tone of cartoonish escapism which would became the trademark of the series.
FRWL is a serious espionage thriller with all the elements of a crowd-pleasing adventure expertly woven together. The elements of gadgetry, humour and vulgarisation of female sexuality are played down at all times, appearing only when relevant to the plot and enhancing the film rather than dominating it.
This was the first Bond film to include the now-obligatory pre-credits sequence scene-setter, which would soon become exercises in special-effects driven budget-expenditure. Here it is a simple but very effective cat-and-mouse pursuit through the gardens of a mansion at night, ending on a clever twist which neatly introduces the film's study of professionalism undermined by personal involvment.
The plot that emerges concerns the SPECTRE organisation's attempt to manipulate British and Russian powers to bid for a Decoder system which would give the victor a considerable advantage in the Cold War. There is no attempts at world-domination, simply a calculated political scheme which adds considerably to the suspense.
Connery fits the role of Bond even better this time around and enjoys the demands on his physicality and wit, before the fatigue was to set in and he resorted to a glib caricature. Surprisingly, the film's female roles are given equal attention by the script, from Daniela Bianchi's manipulated heroin to Lotte Lenya as the truly horrific assassin, Rosa Kleb. The villains are charismatic but believably deadly and never overplayed, with Robert Shaw particularly impressive as the agent sent to execute Bond by impersonating a British agent and gaining his trust.
Anyone more familiar with the modern Bond films may mourn the comparative lack of action-sequences, but for those prepared to follow the engaging and unpredictable plot, there are some excellent set-pieces towards the film's end, such as the helicopter attack on bond, the fight in the train carriage (17 films later it still the best-executed of any Bond film) and the climactic boat pursuit as Bond escapes to Venice.
What remains most satisfying about this film is the attention that has been paid to the human interest. The love story is complex and convincing, the differences between cultures and ideologies subtly drawn and the psyche of the protagonist explored much further than usual. Every so often the producers decide it's time to give a Bond film a bit more "depth" than usual (see Licence to Kill or The World is not Enough) but they have rarely achieved it without unbalancing the picture or striking a false note. From Russia with Love remains the least typical but most rewarding Bond film.
FRWL is a serious espionage thriller with all the elements of a crowd-pleasing adventure expertly woven together. The elements of gadgetry, humour and vulgarisation of female sexuality are played down at all times, appearing only when relevant to the plot and enhancing the film rather than dominating it.
This was the first Bond film to include the now-obligatory pre-credits sequence scene-setter, which would soon become exercises in special-effects driven budget-expenditure. Here it is a simple but very effective cat-and-mouse pursuit through the gardens of a mansion at night, ending on a clever twist which neatly introduces the film's study of professionalism undermined by personal involvment.
The plot that emerges concerns the SPECTRE organisation's attempt to manipulate British and Russian powers to bid for a Decoder system which would give the victor a considerable advantage in the Cold War. There is no attempts at world-domination, simply a calculated political scheme which adds considerably to the suspense.
Connery fits the role of Bond even better this time around and enjoys the demands on his physicality and wit, before the fatigue was to set in and he resorted to a glib caricature. Surprisingly, the film's female roles are given equal attention by the script, from Daniela Bianchi's manipulated heroin to Lotte Lenya as the truly horrific assassin, Rosa Kleb. The villains are charismatic but believably deadly and never overplayed, with Robert Shaw particularly impressive as the agent sent to execute Bond by impersonating a British agent and gaining his trust.
Anyone more familiar with the modern Bond films may mourn the comparative lack of action-sequences, but for those prepared to follow the engaging and unpredictable plot, there are some excellent set-pieces towards the film's end, such as the helicopter attack on bond, the fight in the train carriage (17 films later it still the best-executed of any Bond film) and the climactic boat pursuit as Bond escapes to Venice.
What remains most satisfying about this film is the attention that has been paid to the human interest. The love story is complex and convincing, the differences between cultures and ideologies subtly drawn and the psyche of the protagonist explored much further than usual. Every so often the producers decide it's time to give a Bond film a bit more "depth" than usual (see Licence to Kill or The World is not Enough) but they have rarely achieved it without unbalancing the picture or striking a false note. From Russia with Love remains the least typical but most rewarding Bond film.